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Capricorno Painting

Carlo Vanchieri

Italy

Painting, Acrylic on Canvas

Size: 27.6 W x 19.7 H x 0.8 D in

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About The Artwork

"Capricorno" is a painting born by chance: the idea that started it all refers to the peach-orangish acrylic shades combining the background, of which just few traces have actually been left, as visible on the upper side of the artwork. Afterwards, a couple of misc-azure and horizontal white hints oil dabbing have been processed right to the afore-mentioned acrylic background: these spots were carefully addressed to stretch the entire work view to the outside. It's been kind of a long work to paint (aside for the background processes, I employed four months), large consisting in overlapping small - yet generally geometric-shaped - tiles. The center shows azure shades that draw the attention to the capricorn shape itself, extending over the outer sides through the long ears, that also fall downwards just like tentacles, almost soft pendants, in their total yellow tones. The hard work of opposition (yet highlighting) to the azures, is assigned to a sinuous outline mainly made of orange tones; finally, on both lateral sides, there are different pink falls, this time opposing to the inner composition's softness, but let it stand out at the same time: just like giving birth to an optical effect focused on bringing back the visual attention to the center of the whole composition. "Capricorno", just like I said before, has born by chance and it also matches my zodiac sign. Anyway, title always plays the game of pretexting, since I even think to be rather skeptical to believe in fate, then in stars; I tried to experience some daily reasoned improvisation though, made of shades obstructions in addition to compositional balances, that actually gave me the chance to put myself constantly on a brand new creative process path. N.b. The lateral edge is peach-orange oil painted.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:27.6 W x 19.7 H x 0.8 D in

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About Me: I started studying Art in the very first seventies. That time was full of ideological ferments: first of all, I tried to plan a continuous and lasting path inside myself, aiming to examine the best opportunities to establish a lifestyle that would eventually let me the chance to coherently live with myself, my own person, and to see things from different points of view, taking me right over the things, where it’s possible “ to get some air… to breathe “. This concept directly relates to the words of a close friend of mine from Cefalu’, that visiting one of my solo exhibitions held at Osterio Magno defined my works exactly like “ airy “. When I have finished with my workday, I usually make step-by-step decisions on what should be the best way to proceed with details, trying to remember, at least sometimes, to get a distant view of the painting, in order to gain a wide-ranging vision of the whole. Luckily and often, I’m pretty much satisfied of what I see in front of me, so I may decide to step further, putting close tones and balancing shapes. This process gives me the chance to set up my own way to make and to intend Art itself, which also coincides with my way to live, becoming an all-in-one. The interest in drawing, almost inborn, is the actual motivation that led me to start my Art Studies path. When in High-School, my allure in drawing increased day after day, also thanks to figure drawing, still-life painting and drapery representations, made exclusively through hand-free pencil; I also found myself caught by sketch drawing, where the ideas could met animation. My main choice, was the one to sign-up for the lab of Metal Art, which ended up in receiving my triennial Diploma of “ Maestro d’Arte “. In this class, what I found particularly interesting was the proper technique of glazing on red copper, that basically introduced me towards the proper world of colors, as well the painting itself. This way, drawings suddenly turned into watercolors, and pencils, inks and tempera shortly followed. It seemed like pretty much everything was leading me to the painting reality, thanks to a solid and prior base in drawing. The very first creations, consisted in placing eastern foulards (that I used to collect, from time to time) as models, trying to express them in a pictorial way. Right from this, I made the choice to get going with flat colors and plain compositions, showing central subjects next to never.

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